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Like Michael Bedard's Emily (1992), this book gives readers a tantalizing, child's-eye view of an American original, a challenger of social norms and expectations. McCully's dark, vigorously brushed watercolors successfully evoke both period (1880) and personalities: Stanton is a glowering, formidable presence, while Cordelia, with her straight back, pinafore, and large hair ribbon is a poised, blonde soulmate to Mirette.